The Last Sam Weiss/transcript
PROLOGUE Berkshire County Hospital - Waiting Bedside WALTER: (after waking from a catnap in a nearby chair. stands next to his boy and touches his brow) Peter, I’m here, son. ASTRID: (enters the private room) You’re up. WALTER: (looks at his watch and takes a pulse) Of course. I was just resting my eyes. ASTRID: How is he? WALTER: His pulse is strong. ASTRID: I just spoke with Doctor Levin. She’s planning on keeping him sedated for at least another twelve hours. She thinks the fact that his vitals are stable is a very positive sign. She’s hopeful that he’s gonna come out of this without any permanent damage. WALTER: She can’t possibly know that. Peter interacted with a machine of immense power. A surge like that could have disrupted his neural patterns, created memory deficits... Aphasia. ASTRID: Walter, let’s wait and see, okay? (upbeat) How about we go for a walk? You know, you haven’t eaten in hours. The cafeteria is just downstairs. I think I saw tapioca pudding on the menu. WALTER: (reluctant to step out) Well, I can’t deny I’m hungry. Holyoke Highway - Spontaneous Lightning (a family drives in moderate traffic through Massachusetts farm country. the teenage son sits in the backseat, listens to music on his headset, watches the odd weather, then notices as the hair on his forearm stands straight-up) NATE: Hey Dad, something weird is happening. GARY: What’s up, Nate? KARA: Are you feeling sick? NATE: No, I -- (a bolt of lightning hits the SUV in front of them and it flips onto it's roof and slides) GARY: (after stopping) What the hell was that? (electrical bolts strike around the vehicle) KARA: Ah! (her husband backs the vehicle away where they initially stopped. turns to her son) Are you okay, Nate? NATE: I think so. GARY: It’s okay, buddy. It’s over. You wait here. I’m gonna take a look. (prepares to walk forward toward the accident scene) KARA: (concerned) Gary, no. GARY: You’ll be safe in the car. Just stay down, don’t touch anything. (jogs up the hillside to the overpass. finds a damaged vehicle. looks out over the score of vehicles stopped on the roadway. electrical bolts repeatedly strike the roadway and nearby fields) ACT I Remote Base - Sam's Assessment SAM WEISS: (standing in the hangar bay studying the large weapon) It wasn’t supposed to happen this way. OLIVIA: What do you mean - 'this way'? SAM WEISS: It’s already on. OLIVIA: Yes, it’s been on for the past thirty-two hours. SAM WEISS: But how can that be? This doesn’t make sense. OLIVIA: Walter thinks that the machines are quantum entangled and that this machine was triggered when they activated theirs on the other side. SAM WEISS: Even so, how did they turn it on in the first place? This machine was built for Peter. Only he can operate it. OLIVIA: Well, he tried, but the machine sent him flying. SAM WEISS: (throws pen at it and watches as it deflects and buries in nearby piece of equipment) It’s hot-wired. It’s tricked into thinking he’s already inside. That’s why it’s repelling anyone or anything trying to enter. OLIVIA: So you’re thinking that it’s malfunctioning. SAM WEISS: What I’m saying is it’s frustrated... in a manner of speaking. That’s why you’re seeing all this damage out in the world. It’s not a Doomsday Device, but it’s acting like one. OLIVIA: Okay, so how do we stop it? SAM WEISS: In case of emergency, break glass. (unrolls an ancient scroll) I believe there’s a way we can disarm the force field and let Peter in safely. OLIVIA: Okay, I read the First People book cover to cover and there’s nothing in it about that. SAM WEISS: Not in your book. This is the manuscript the books are based on. These pages were never published. OLIVIA: Okay, so what am I looking at? SAM WEISS: This is a box. (leafs through the document) This is the key that opens the box. OLIVIA: Well, what’s inside the box? SAM WEISS: According to this, it’s a crowbar of sorts. OLIVIA: A crowbar? SAM WEISS: Yes. It’ll pry the force field open long enough for Peter to get in. OLIVIA: And what happens if he does? Does he die? SAM WEISS: No. I don’t think so. OLIVIA: You don’t think so? SAM WEISS: As I understand it, the machine is indestructible. So if Peter gets in, he should be safe. OLIVIA: Okay, so where are these now? SAM WEISS: Come on. Berkshire County Hospital - Inspiring Walter WALTER: (walking the corridor with a cafeteria tray loaded with food) It’s a long time since I’ve seen a classic fruit cocktail. Why do you suppose that is? ASTRID: I suppose loading fruit with sugar, artificial flavors and dyes has just fallen out of favor. WALTER: That’s a shame, isn’t it? DOCTOR: (on the move behind them. to an assistant) Not a fire. It’s a freak lightning storm. I need you to call the Burn Center, see how many they can take. NURSE: (later, as victims roll in) Second-degree burns. Trauma Bay Four is prepped and ready. WALTER: (to Astrid as they watch the ranks swell) Getting worse. ASTRID: We don’t know that this has anything to do with the machine. WALTER: I think we do. BROYLES: (approaching the duo) I want another team on the scene and get the Governor on the line. ASTRID: Hey, what happened? BROYLES: A spontaneous dry lightning storm just outside Worcester. Twenty-five people injured in similar storms are being reported up and down the Eastern Seaboard. WALTER: Electro-static fluctuations in the atmosphere. I’m not surprised. BROYLES: (phone rings) Sorry, I have to take this. (to caller) Yes? put him through. Mister Governor. WALTER: (starts back to Peter's room) We should get back to Peter. ASTRID: Walter, this is a Fringe Event. We need to get back to the lab. WALTER: I’m not leaving him. ASTRID: Peter would not want you to sit by his bedside and do nothing. I’ll make sure that the hospital calls us. We’ll be back before he wakes up. WALTER: (firmly) I’m afraid I’m out of ideas. Forgive me if I’d like to spend my remaining time with my son. ASTRID: Well, what about Olivia? You saw how hard it was for her to leave him, but she’s out there trying to find a way to end this. WALTER: I too have tried. I went so far as to ask God for help. And how did he respond? Nothing. ASTRID: That’s your excuse? Come on now. What have you done, Walter? God helps those who help themselves. WALTER: Poor Richard’s Almanac. ASTRID: What? WALTER: (inspired) Ben Franklin. That was his phrase. 'God helps those who help themselves'. You’re right. We have to investigate. We can’t begin to neutralize this until we understand. ASTRID: Well, where are we going? WALTER: To get my kite. (starts to leave) Weiss Mausoleum - Fetching The Box SAM WEISS: See the thing is I’m not the first Sam Weiss. OLIVIA: (refers to the large stone sarcophagus they have gathered around) So which Sam Weiss is this? SAM WEISS: That’s my great-great-great-great grandfather. He was digging for Mastodon bones when he discovered an ancient manuscript instead. OLIVIA: So he was the one who wrote the First People book. SAM WEISS: No, that was the fifth Sam Weiss. The third and fourth Sams spent their lives searching for the manuscript’s missing sections. OLIVIA: You’re a dedicated bunch. SAM WEISS: A machine with the power to create and destroy worlds shouldn’t be taken lightly. (prying the lid off of the tomb) Dang, this is heavy. (removes a metal container the size of shoebox) OLIVIA: Okay. Let’s go get the key. SAM WEISS: No. Maybe we shouldn’t be doing this at all. The crowbar’s not to be used unless something goes wrong with the machine. OLIVIA: Uh, look outside, Sam. Something is going wrong. SAM WEISS: The timeline’s not right. Maybe this is a cosmic hiccup. Maybe it’ll course-correct on its own. OLIVIA: Or maybe it will destroy two universes. SAM WEISS: That’s exactly my point. You know, generations of knowledge have been bestowed upon me. But no one said anything about the other side turning on the machine first. OLIVIA: Okay, Sam, I’m gonna make this really easy for you. I am armed and I want you to take me to the key now. Walter's Lab - Voltage Meter (in the grassy quad on campus, Walter wrangles a kite with sensors through the strong winds) WALTER: Ho-ho! That’s it! Come and get me! Strike me down, you sprites, you elves, you glorious blue jets! ASTRID: (monitoring the gauges covering a nearby work table) Walter, this can’t possibly be safe. WALTER: Nonsense! I’m fully insulated. Are you tracking the field strength? ASTRID: Yeah, it’s all over the place. Needle won’t sit still. WALTER: (as an electrical charge finds its' way to his hands) Ah-ha! Oh! Whoo! Whoo! What was the voltage on that one? ASTRID: Uh... (as the equipment starts to smoke slightly) I’m gonna go with 'high'. We’re not even getting any more electrical readings. WALTER: What about barometric pressure? ASTRID: (as another bolt dumps him on his backside) Walter! Oh, my God! Hey! Hey, Walter. WALTER: (revives) What happened? ASTRID: You just got struck by lightning twice. WALTER: That’s it. The missing variable. (elated) Oh, Ostrich, you are a genius! ASTRID: (tentative. genuinely baffled) Why? WALTER: Repetition, my Dear. We have to account for repetition. Pack all this up. We’re going back to the lab. ASTRID: Okay. WALTER: Haa haa. (points to the kite and the sky) Berkshire County Hospital - Suddenly Well (a life sign monitor beeps steadily. Peter's eyes open wide. he removes the electrodes and sensors attached to him as he sits-up. he checks the wardrobe, finds his personal effects, dresses and wanders into the hall, seemingly disoriented) NURSE: (answers ringing phone) ICU. We’ve got two, maybe three free beds. You’re gonna have to send some of them to General. (fails to detect Peter behind her) ER STAFF: (as chaos ensues) Please, you need to lie down, ma’am. If your daughter is here — Help! He’s not breathing! Get me the cardiologist on call. NURSE #2: (challenges the disoriented Peter Bishop) Excuse me. Sir, you alright? What’s your name? PETER: My name’s... NURSE #2: (notices his wristband) Are you a patient? DOCTOR #2: (summons the nurse) I need a crash cart in here. NURSE #2: (task saturated) Don’t move. I’ll be right back. (Peter finds his way to an exit and leaves the hospital) ACT II Pittsfield, MA - Catching A Cab PETER: (after walking the busy streets. he hails a) Taxi! CABBIE: (after his fare hops in) Where you headed, pal? PETER: 42nd and Lex, please. CABBIE: Come again? PETER: 42nd and Lex, Midtown. CABBIE: (eyeballs the man in the backseat) Are you feeling okay? PETER: Yeah, I’m fine. Why? CABBIE: 42nd and Lexington is in New York, and we are in Pittsfield. That’s a pretty steep fare. (Peter thinks. remembers he has a wallet. removes a credit card and lets the driver verify it) 42nd and Lex it is. Boston Chaos - Accessing The Museum SAM WEISS: (as he stops and parks among the emergency vehicles) Appears we’ve got another problem. The key is in there, the Whitley Museum. POLICE SARGEANT: (briefing the duo as he escorts them to the front of the museum) Mayor’s Office has us setting up safety zones at locations of all the lightning storms. OLIVIA: So what’s the radius? POLICE SARGEANT: Oh, this one’s six blocks. We’ve had bigger. Quincy, Somerville, two at Southie. I barely have enough manpower to keep up. Oh, that’s her. Museum Director. CHRISTINE ALBRIGHT: (on the phone) I don’t care if it’s the bloody Apocalypse. I’m not leaving my museum unattended. You remember what happened in Baghdad. Listen, I’ll call you back later. POLICE SARGEANT: Uh, ma’am, this is the Agent I spoke to you about. OLIVIA: (holds out official identication) Olivia Dunham, FBI. CHRISTINE ALBRIGHT: Doctor Christine Albright. SAM WEISS: (holds out unofficial identication) Sam Weiss. Patron member since ‘82. OLIVIA: Thank you so much for meeting us. Are those the floor plans? CHRISTINE ALBRIGHT: (nods) mm-hmm. SAM WEISS: (points to specific section of the floor plan) There. That’s where the key is. OLIVIA: You sure? SAM WEISS: Positive. CHRISTINE ALBRIGHT: That’s the Native American Wing. I curated those exhibits myself. There’s no key in there. SAM WEISS: I beg to differ. OLIVIA: Okay, what’s the most direct route to that wing? CHRISTINE ALBRIGHT: You mean you want to go in? You can’t. It’s not safe. POLICE SARGEANT: Battalion Commander said he’d never seen anything like it. Lightning coming out of thin air. SAM WEISS: Inside the museum? POLICE SARGEANT: Inside all the buildings on the block. OLIVIA: Okay, well, that’s a chance we’re gonna have to take. CHRISTINE ALBRIGHT: Uh, go through the front entrance. That’s the quickest route. Please be considerate. We’ve lost enough priceless artwork for one day. OLIVIA: You have our word. Walter's Lab - Another Pattern ASTRID: (approaches with a stack of papers) Here’s everything, including the latest raw data from Massive Dynamic. WALTER: Excellent. Let’s mark all the spots where lightning has struck more than once. ASTRID: Because lightning shouldn’t strike twice? WALTER: No, that’s a myth. as we know, lightning can and does strike twice, given the right conditions. but the frequency of multiple strikes, that we measure. ASTRID: You think this is gonna give us the pattern? WALTER: No, not by itself. But when we compare it to the frequency of seismic events and multiple radiation and thermal spikes... maybe. ASTRID: Okay. (starts plotting on clear overlays) WALTER: (assembles the overlays once the data has been plotted) Seismic... and radiation... and thermal. What do you see, Dear? ASTRID: These X’s line up perfectly. WALTER: And what else? ASTRID: Fringe Events seem to be clustered around two points. WALTER: (points to the separate regions) The foci. And a rift seems to be forming on the axis between them, like they’re tugging at each other. ASTRID: Walter, this is the exact location where our machine is housed. But why Liberty Island? WALTER: (suddenly realizing) Walternate. Federal Building - Convincing Broyles BROYLES: (on the phone) Do you understand what you’re suggesting? We’re talking mass panic. Do you have a contingency plan in place for that? (as Walter sets-up shop on his desk) Hold on. I’ll call you back. WALTER: Here we go. A simple visual demonstration. It’s important that you pay attention. (gently taps a clear table, magnets and iron filings) These two magnets... create a magnetic field between them. As a result, these iron filings line up in a pattern consistent with that field. BROYLES: Your point? WALTER: The two machines, they’re acting just like the magnets. Only in this case, across universes. The pull between them creating this swath of events. At one end, the hangar where we keep our machine. The other end - Liberty Island. BROYLES: The location of the Department of Defense Headquarters on the other side. WALTER: Which is where Walternate must have built his machine - there’s no other explanation. But if... (aligns the magnets) we move our machine to the same spot as theirs... we stall the pace of destruction. BROYLES: You want to move our machine one hundred miles and over water and park it offshore from the most densely populated city in the country? WALTER: (frankly) Yes. Astrid’s already working out the logistics of stable transport. BROYLES: But when the two machines are brought together, won’t that increase the intensity of events in that spot? WALTER: Yes, but it will buy us time. Olivia’s looking for a way to get Peter inside the machine. We just have to contain the damage until she succeeds and pray that Peter is ready. (soft persuasion) Phillip... I know it sounds crazy... but it’s our only viable option. Whitley Museum - Extracting The Key SAM WEISS: (approaching a clear display case) There it is. OLIVIA: The key? I don’t see it. SAM WEISS: That’s the beauty. No one can. (retrieves nearby 'war axe') OLIVIA: (soft static crackles in the air) Sam? Do you hear that? SAM WEISS: Is it the lights? OLIVIA: It’s not the lights. (loudly) Get down! (tackles him to the floor as electrical bolts shatter the display cases) Okay, you get the key. I’ll disable the alarm. (Sam grabs the stone tablet he needs. Olivia runs to the fuse panel as security fencing drops in the hallway) It’s not working. It was short circuited by the lightning. We won’t make it. (Sam grabs a large round piece of debris down the hall and knocks over a large curvy urn that rolls under the descending security fence and braces it open) OLIVIA: (in awe) Oh, my god, Sam. SAM WEISS: (matter-of-factly) I work in a bowling alley. OLIVIA: Okay, come on. (racing from the building to safety) (outside. working from the back of their vehicle) OLIVIA: That’s the key? (as he cracks the tablet enough to remove a small metallic object encased inside) SAM WEISS: Incredible. OLIVIA: Okay, so what do I do? SAM WEISS: I don’t know. I told you, the instructions are incomplete. OLIVIA: I mean, there’s nowhere for it to go. Are you sure that this is the right key? SAM WEISS: Yeah, are you kidding? My father took me to the Museum hundreds of times. Believe me, you have no idea how boring those – (the small key latches magnetically to the side of box they retrieved from the crypt) You did it. OLIVIA: Sam? (the box hums, then unrolls to a flat position, exposing another scroll inside) That’s the crowbar? I mean, what is it? SAM WEISS: (opens the scroll and studies the image on it) It’s you. ACT III Walter's Lab - Motivating Olivia OLIVIA: What does the drawing mean, Walter, and why am I in it? WALTER: (studies the scroll Sam recovered with a magnifying lens) Well, if it’s a companion to the original picture, it means that you and Peter both have a connection to the machine. OLIVIA: But why? I mean, why am I connected to it? WALTER: Perhaps your friend here could enlighten us. (turns to Sam) SAM WEISS: (adamant) No. I mean, all I know is the original manuscript is very clear on this point. The lockbox contains the crowbar. WALTER: Then the answer is unavoidable. (to Olivia) Apparently, you have the ability to turn off the force field that’s keeping Peter out and open the machine for long enough for him to get inside. OLIVIA: How am I supposed to do that? WALTER: Well, the answer lies in the drawing. Otherwise, why draw it? Oh, let’s see. (turns the scroll sideways) Uh-huh. Brain waves, it would seem. (rolls it backwards to form a cylinder) SAM WEISS: Hey... careful with that. WALTER: Uh-huh. There’s your answer. (points to the joined edges with Olivia's expanded image) Huh? You, Olivia, have the power to bend things with your mind. That’s what you’re doing in this drawing, if you look at it the right way. OLIVIA: Walter, you’re not seriously talking about -- SAM WEISS: Telekinesis. OLIVIA: No. I can’t. WALTER: Yes, you can. You’ve done it before. Two years ago, David Robert Jones. She defused a bomb by turning off some light with her mind. OLIVIA: Walter, that was different. WALTER: Well, it was less advanced. Oh, I’m afraid there’s something else. Since it’s the machine on the other side that’s turned on, that’s the machine you’ll have to interact with. OLIVIA: You’re not suggesting that I need to cross over. WALTER: No. The same part of your mind that allows you to cross over contains your ability of telekinesis. They should be able to work together in combination. SAM WEISS: Control the machine over there from over here. WALTER: In theory, yes. OLIVIA: (unconvinced) No, it’s ridiculous, and even if it was possible, manipulating a light is nothing compared to manipulating the machine. WALTER: You’re right. of course. Requires a much greater degree of control. (thinking ahead) We’ll have to practice. Start on something smaller. SAM WEISS: How do we do that? WALTER: Ahh. (after moving to an inner office and loading a sheet of paper into the captured Selectric 251) This is the typewriter the other Olivia used to communicate with the other side. Like the two machines, it is quantum entangled with its counterpart. In this case, whatever’s typed on one appears on the other, which makes it the perfect means for testing your abilities. You ready to give it a try? OLIVIA: So how? WALTER: Okay, clear your mind. Look into the mirror. Imagine that you’re looking at the typewriter on the other side. Now, press those keys using your mind. OLIVIA: Walter, this is-- WALTER: Shh. Don’t expect it to happen so quickly. It’s like meditating. You need to focus on something specific. A word, phrase... and be patient. (in Peter's hospital room, a staff member finds an envelope on his empty bed and becomes alarmed an places a call. the envelope has the written message - 'I am going home'. OLIVIA: (after he rejoins her and sits down) Walter, maybe if you gave me some Cortexiphan. WALTER: I’m afraid at this point, it would do you more harm than good. These abilities are inside you, Olivia. You simply need to harness them. OLIVIA: Walter, I don’t know how. I never have. WALTER: I know what it’s like to feel unequal to the task required of you. To feel incapable. I’ll never be the man I was, but I’ve come to embrace those parts of my mind that are... peculiar and broken. I understand now that’s what makes my mind special. (studies her for a moment) I wish you could see yourself the way I see you. You have no idea how extraordinary you are. If you would embrace that, there’s no end to what you can do. OLIVIA: I know that you want to believe in me... and I want to believe in me... but believing doesn’t make it true. WALTER: Just try. (she concentrates again and fails) It’s okay. Take a break and we’ll try again. Hmm? ASTRID: (walks into the office) The hospital just called. Peter’s missing. ACT IV New York - Looking For Luck PETER: (stops a woman) Excuse me. Do you -- (stops a man) Excuse me. Hmm? Do you know if there's a pawn shop around here? I've been here before, but-- PEDESTRIAN: No, sorry, man. I'm -- I don't know. (continues to walk) PETER: (turns around and stops the man again) Man, I'm sorry to disturb you, but it's just it's really important. I could have sworn there was one. PEDESTRIAN: (sighs) I don't know. Uh, I think there's one over on 3rd avenue. PETER: On 3rd? Yeah. Thank you. (store door bells chime. Peter looks around the shop. store owner stops his work to entertain his customer) PETER: (points at a display) Can I see these? STORE OWNER: Sure. You a collector? PETER: I was... when I was a kid. STORE ONWER: (lays his tray of coins in front of his customer) They're all graded and authenticated. Price-wise, everything in here, five hundred and up. PETER: This one. (points and picks up a coin) STORE OWNER: Silver half dollar. PETER: It's my favorite. It always brings me luck. Walter's Lab - Worried About Peter ASTRID: (drops the phone) Walter, they searched the house. There's no sign of him. WALTER: What if he can't remember our address? ASTRID: No, Walter, let's not assume the worst. WALTER: (frustrated) Is that what you think I'm doing? Because it is a fact that Peter sustained a massive blow to the head. It is a fact that he was in a hospital less than ten hours ago. It is a fact that we haven't got the slightest clue how that machine affected him. So please do not accuse me of making assumptions. (realizes he has frustratively assaulted his colleague) I'm sorry, Astrid. ASTRID: I know you're scared, Walter. OLIVIA: Hey. Peter's credit card has been used twice in the past two hours. Eight hundred dollars to the Western Massachusetts Cab Company and six hundred dollars to a pawn shop in Manhattan. ASTRID: He took a cab to New York? OLIVIA: It appears so. Until we speak to the driver, we won't know for sure. WALTER: What would he be looking for in New York? Liberty Island - Mistaken Identity GUARD: Excuse me, you can't be here. we're evacuating the area. PETER: I know, I know, but I have to talk to my father. I have something to show him. it's really important. GUARD: And who, out of curiosity, is your father? PETER: Walter Bishop. The Secretary of Defense. Walter's Lab - Releasing Sam OLIVIA: Here. (hands over a drink) SAM WEISS: Thank you. Any word from Peter? OLIVIA: No. What you doing? SAM WEISS: Reading. That's a lie. Trying to read. Pathetic attempt to distract myself with ancient gossip. Better than thinking about what I've done. OLIVIA: Sam, you didn't do anything. SAM WEISS: I intervened. OLIVIA: I didn't give you an option not to. BROYLES: We just got word Peter's been found. OLIVIA: Is he alright? BROYLES: He's alert, answering questions. Transport's waiting for us at the heliport. OLIVIA: Well, where is he? BROYLES: Liberty Island. The machine has arrived there as well. WALTER: I'll get my coat, and some Dramamine. BROYLES: I'm afraid this is where you get off. Official personnel only. OLIVIA: Sam, whatever's happening, it's not over. SAM WEISS: Good luck, Olivia. OLIVIA: Thank you. (the bowling alley manager looks out on the cityscape while the Newton's Cradle spontaneously moves) Liberty Island - Checking Peter WALTER: Peter! What on Earth made you come here? (as Olivia gives him a hug) Are you alright, Son? PETER: There are two of you, aren't there? I think I've been confused. WALTER: (shines a light on his son's eyes and checks his blood pressure) What year is it? PETER: Twenty-eleven. WALTER: President? PETER: Obama. WALTER: Nausea, headaches, ear-ringing? PETER: No, physically, I feel fine. WALTER: And who is that woman over there? PETER: Olivia. WALTER: What's the last thing you remembered before you woke up in the hospital? PETER: I remember getting into the machine... or trying to. WALTER: Good. And do you know me? PETER: I know you're not the Secretary of Defense. The sweater's a dead giveaway. WALTER: Good. Fact that your memory's returning is a sign that your confusion is temporary. You're gonna be okay, Peter. Where'd you get this? OLIVIA: Walter? WALTER: The machine. Liberty Island - Plan Not Working BROYLES: I thought you had a plan to contain the rise in pressure. WALTER: The system wasn't designed for sudden fluctuations. BROYLES: So what can we do to compensate for that? WALTER: I'm afraid so long as the machine is on -- there's nothing we can do. Liberty Island - Telekinetic Typing OLIVIA: Oh, Peter, I was worried about you. PETER: I'm okay. Let's just figure this out. So the drawing implies that you need to use telekinesis? Is Walter sure? OLIVIA: Well, Walter's educated guess is as good as we have. Well, I mean, I tried. I concentrated on a phrase like Walter asked me to do and still nothing. PETER: Well, what was the phrase? (Astrid, disturbed by keys clacking, goes into an inner office and finds the quantum typewriter is active) OLIVIA: What do you mean it's working? ASTRID: I heard the keys tapping away. It keeps typing the same message. Are you doing that? OLIVIA: What's the message? ASTRID: Be a better man than your father. ACT V Liberty Island - Accessing The Device BROYLES: There’s a boat leaving for Manhattan in five minutes! I want all non-essential personnel on it! That means get out now! WALTER: Don’t worry. Just think of it as a giant typewriter. BROYLES: Do you know what to do? OLIVIA: I think so. BROYLES: The tremors are getting stronger. WALTER: Exponential microquakes. We’re building towards a massive event. I suspect we don’t have much time left. OLIVIA: Walter, what if I can’t do it? What if I can’t turn it off? WALTER: I have known you for a long time, Olivia, and I believe that the drawing was no accident. Whoever did it knew the same as I do. That you don’t fail. PETER: You ready? OLIVIA: No. You? PETER: No. Don’t say I never took you anywhere. You can do this. BRANDON FAYETTE: (from his laboratory in the alternate universe as his monitors fluctuate wildly) Notify the Secretary. There’s something happening to the machine. PETER: You did it. OLIVIA: Peter. I love you. PETER: Wish me luck. WALTER: Oh, dear God. Lower Manhattan - Chaos & Injury LOUDSPEAKER: All civilians proceed to evacuation route immediately. FRINGE AGENT: Agent Bishop. Agent Bishop, take cover! PETER: Fringe Division? Where the hell am I? FRINGE AGENT: Sir, you’ve been hit. Medic! I need a medic now! Category:Transcripts Category:Season Three Episodes